Pop Art embodied the spirit of the 1960s. Despite its carnival aspects, its orgiastic color and giant scale, it was based on a tough, no-nonsense, no-refinement standard appropriate to its time. Here several critics, each involved in Pop Art, but with different backgrounds, vividly bring the movement to life. Lucy Lippard examines Pop's precursor and related styles, ranging from folk art, Surrealism and Dada, to Assemblage, Rauschenberg and Jasper Johns. Lawrence Alloway contributes a chapter on the development of pop in England; Nancy Marmer considers Californian pop; Nicolas Calas, a member of the Surrealist movement in the 1930s and 40s assesses Pop icons. 187 illus., 18 in color.

Pop Art

Arts & Photography

Lucy R., Lippard

History & Criticism

Oxford University Press

Pop Art (The World of Art Library)

et.al.

Thames and Hudson Ltd.

The Art of Whitfield Lovell: Whispers from the Walls

The Art of Whitfield Lovell: Whispers from the Walls (Pomegranate Catalog)

Individual Artists

Pomegranate

A tribute to the influential contemporary artist and official catalog for the National Museum of Women in the Arts 2002 exhibition considers the key periods that spanned her forty-year career. Original.

Judy Chicago

Viki D. Thompson Wylder

Sackler, Elizabeth A.

edward-lucie-smith

Collections, Catalogs & Exhibitions

Watson-Guptill Pubns

An exploration of the Ancestral Puebloan culture at Chaco Canyon and its extension into the surrounding region, including Mesa Verde. Historic photographs ranging from the late nineteenth century to the 1970s are juxtaposed with contemporary "rephotographs."

Time and Time Again: History, Rephotography, and Preservation in the Chaco World

Lippard, Lucy R.

Goin, Peter

Photography & Video

Museum of New Mexico Press

Brush Fires in the Social Landscape

Reference

Aperture

As a new movement that arose in the 1950s and 1960s, Minimalism challenged traditional ideas about art-making and the art object. A Minimal Future? Art As Object 1958-1968, which accompanies a major exhibition at The Museum of Contemporary Art in Los Angeles, offers a redefinition of Minimalism by situating it in the context of the concurrent aesthetics of modernist abstraction, pop art, and nascent ideas of conceptual art. Minimalism is presented as a range of strategies that propelled new definitions of the structure, form, material, image, and production of the art object and renegotiated its relationship to space and to the spectator.Focusing on the years 1958-1968, A Minimal Future? presents key works within the framework of a scholarly re-examination of minimal art's emergence and historical context. It reflects the early transitional period that begins in the late 1950s, through the so-called "canonization" of Minimalism by 1968, with an emphasis on work produced in the mid-to-late 1960s.The book includes works from the late 1950s through the late 1960s by 40 artists, including Carl Andre, Richard Artschwager, Jo Baer, Larry Bell, Mel Bochner, Judy Chicago, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Sol LeWitt, Agnes Martin, John McCracken, Robert Ryman, Frank Stella, Anne Truitt, and Lawrence Weiner that reflect the shifting object status of painting and sculpture.The text features original essays by prominent art historians and scholars. Diedrich Diedrichsen addresses the relationship between minimal art and music; Jonathan Flatley focuses on Donald Judd and Andy Warhol; Timothy Martin considers perfomance in relation to minimal art; James Meyer examines East and West Coast practices of Minimalism; and Anne Rorimer discusses the relationship of minimal to conceptual art. Exhibition curator Ann Goldstein contributes an introduction. Also included are individual entries on each of the artists, an extensive bibliography, and an exhibition chronology. The 400-page book includes 300 images, most in color.

A Minimal Future? Art As Object 1958-1968 (Arts Magazine, March 1967)

Carrie Lambert

Anne Rorimer

James Meyer

Jonathan Flatley

Diedrich Diederichsen

Museum of Contemporary Art

I See/You Mean

Literature & Fiction

Literary

Chrysalis Books

This eco-friendly catalog includes writings by Lucy R. Lippard and major writers on environmental art and climate change. It was published by the Boulder Museum of Contemporary Art (in Colorado) as part of the 2007 exhibit "Weather Report: Art and Climate Change," curated by internationally renowned art critic, historian, and writer Lucy R. Lippard. "Weather Report" underscores art's potential to educate and motivate audiences. Issues regarding desertification, floods, changing watersheds, global warming, renewable energy, carbon profiling, reforestation, species transformation, ozone layer, ocean acidification, and soil subsidence are presented through artists eyes to provoke a tangible, immediate connection with the viewer. The intent of the exhibit was to partner the scientific and art communities to create a visual dialogue surrounding climate change. The artists include: Kim Abeles, Lillian Ball, Subhankar Banerjee, Iain Baxter&amp;, Bobbe Besold, Cape Farewell, Mary Ellen Carroll (Precipice Alliance), CLUI (Center for Land Use Interpretation), Brian Collier, Xavier Cortada, Gayle Crites, Agnes Denes, Steven Deo, Rebecca DiDomenico, Future Farmers (Amy Franceschini and Michael Swaine), Bill Gilbert, Isabella Gonzales, Green Fabrication University of Colorado College of Architecture and Planning (Professor, Rick Sommerfeld), Newton Harrison &amp; Helen Mayer Harrison, Judit Hersko, Lynne Hull, Pierre Huyghe, Basia Irland, Patricia Johanson, Chris Jordan, Marguerite Kahrl, Janet Koenig &amp; Greg Sholette, Eve Andree Laramee, Learning Site (Cecilia Wendt and Rikke Luther), Ellen Levy, Inigo Manglano-Ovalle, Patrick Marold, Natasha Mayers, Jane McMahan, Mary Miss, Joan Myers, Beverly Naidus, Chrissie Orr, Melanie Walker &amp; George Peters, Andrea Polli, Marjetica Potrc, Aviva Rahmani, Rapid Response, Buster Simpson, Kristine Smock, Joel Sternfeld, Mierle Laderman Ukeles, Ruth Wallen, Sherry Wiggins, The Yes Men, and Shai Zakai.

Weather Report: Art and Climate Change

Stephanie Smith

Andrew C. Revkin

Boulder Museum of Contemporary Art

- The Great Picture is a history-making gelatin silver photograph three stories high by eleven stories wide- The image was made using a shuttered southern California F-18 jet hanger transformed into an enormous camera obscura—the largest camera ever madeSix accomplished photographers—Jerry Burchfield, Mark Chamberlain, Jacques Garnier, Rob Johnson, Douglas McCulloh, and Clayton Spada—known as The Legacy Project, aided by 400 artists, experts, and volunteers, transformed an abandoned southern California F-18 jet hangar, located atthe Marine Corps Air Station El Toro (MCAS El Toro) in Orange County, into the largest camera ever made and then proceeded to produce the world’s largest photograph, The Great Picture. The image is an enormous panoramic landscape of the California desert beyond the air station, which isdestined to become the heart of the Orange County Great Park.On July 12, 2006, The Legacy Project unveiled the world's largest photograph at a special reception held inside the world's largest camera. It has been exhibited only twice since then during a short viewing at Art Center College of Design, South Campus Wind Tunnel, Pasadena, California in 2007,and most recently this past winter at Central Academy of Fine Arts, Beijing, China. However, for the first time, Sweeney Art Gallery/Culver Center’s presentation of The Great Picture will be accompanied by additional components that explore details behind its making and those who made itpossible.The Legacy Project has shown their work in more than 30 exhibitions in the United States and abroad. The Legacy Project will continue to work through 2017 as El Toro is transformed into the Orange County Great Park.

The Great Picture: Making the World’s Largest Photograph

Stallings, Tyler

Hassett, Dawn

Hudson Hills

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Books by Lucy R., Lippard